Dissertations / Theses on the topic 'Picaresque novel'

This thesis addresses this question of why Abbey employed such rhetoric and what resulting effects he hoped to achieve. Examining Abbey's rhetoric in terms of classical Western rhetorical traditions, the genre of the picaresque, and his own ideological stance can aid in understanding what his intentions are in this controversial work.

Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality.
Comparative Literature

Nuestro trabajo parte del resumen de los acercamientos críticos más solventes acerca del concepto «novela picaresca», desarrollados en el capítulo primero de esta tesis. A partir de aquí se han resumido los rasgos distintivos y consensuados del género picaresco, que han servido de marco-bastidor en el que proyectar las novelas objeto de estudio. A continuación, se presentan los acercamientos críticos más solventes sobre las novelas referidas, que han contribuido a identificar los elementos constitutivos de estas narraciones y las innovaciones que aportan al género picaresco: el carácter misógino, las innovaciones temáticas y estructurales y/o el personaje de la pícara, etc. Seguidamente, he procedido al análisis individualizado de las novelas propuestas. El examen de La pícara Justina ocupa el siguiente capítulo 2. En él hemos aportado datos significativos acerca de la nueva propuesta sobre la autoría de la obra, que recaería en el dominico, Baltasar Navarrete. En este capítulo se diserta sobre el fuerte componente festivo y el discurso bufonesco de la obra y la consecuente sátira contra los fines y estructura del Guzmán. A continuación, se hace relación de los personajes satirizados, sin olvidar la burla y chacota que sufren algunos monumentos leoneses. Seguidamente, he estudiado los componentes picarescos y la adaptación que estos han sufrido en la pluma del autor chocarrero. Cerramos el capítulo con el retrato físico-moral de Justina. El capítulo 3 centra su estudio en la novela del autor madrileño, Salas Barbadillo, La hija de Celestina. Se inicia con un repaso de su vida y producción literaria. Seguidamente, repasamos los textos de sabor picaresco, que Salas Barbadillo escribió en aproximadamente una década, de 1616 a 1621. Luego analizo su obra cumbre, ya referida, aparecida en 1612, con un primer examen a las valoraciones críticas, para centrarme después en el carácter híbrido de la novelita, que integra un triple discurso, hábilmente engarzado. Continuamos con el estudio de la segunda versión aparecida en 1614: La ingeniosa Elena. Se cierra el capítulo con tres apartados más; uno dedicado a la visión moral del autor y su influjo en la caracterización y final de Elena, otro al retrato de la protagonista, y un tercero, donde se hace relación de las huellas que otros textos dejaron en La hija de Celestina. El capítulo 4, el más extenso, está conformado por el estudio de las dos pícaras de Castillo Solórzano. Se inicia con un resumen de la vida y obra del autor. Seguidamente, nos centramos en el análisis de otros relatos de sabor picaresco, que han contribuido con datos para una mayor comprensión de las novelas seleccionadas A continuación, he estudiado en profundidad La niña de los embustes, Teresa de Manzanares. He abordado aspectos como la estructura miscelánea, el tratamiento de la burla y otros temas principales, la ideología que subyace en la novelita y el personaje de Teresa. Se cierra el capítulo con el estudio de la última novela propuesta, La Garduña de Sevilla, última incursión de Castillo Solórzano en el mundo picaresco. He considerado necesario analizar la estructura híbrida, que incluye tres relatos independientes, las burlas y estafas de estilo picaril y el refinamiento de su protagonista. Se concluye el capítulo 4 con el apartado del diálogo intertextual, donde aparecen obras de referencia y que pudieron sugerir al autor vallisoletano algunos temas y argumentos. Cerramos el estudio con las «Conclusiones», a las que se ha llegado tras el análisis detallado de las obras propuestas. Por último, aportamos una «Bibliografía» con un listado previo de abreviaturas. Los estudios consultados son publicaciones clásicas y modernas (incluso de última hornada, aparecidos en 2016).
The present doctoral thesis has analysed at lenght four novels from the 17Th century whose main character is a «pícara»: La pícara Justina de López de Úbeda y/o Baltasar Navarrete, published in 1605; La hija de Celestina de Salas Barbadillo (1612); La niña de los embustes, Teresa de Manzanares (1632) and La Garduña de Sevilla y anzuelo de las bolsas (1642), both by Castillo Solórzano. Our work has as its starting point a summary of the most respected critical approaches to the concept of the «picaresque novel». Next we will present the most respected critical approaches to the novels referred to above, which have contributed to identifying the elements which make up these narrations and the innovations which they contribute to the picaresque genre. The analysis of La pícara Justina takes up the chapter 2. There we contribute significant data concerning the new theory about the authorship of the work, pointing to the dominican monk, Baltasar Navarrete. We will discussing the strong festive component and the buffoon-like language of the work and its resulting satire of the ends and structure of the Guzmán. We will enumerate the real life characters satirized, and ridicule suffered by some monuments of León. We close the chapter with the study the picaresque components and a physical and moral portrait of Justina. Chapter 3 focuses on the novel by Salas Barbadillo, La hija de Celestina. We will study the hybrid nature of the novelette witch brings together a skillfully interwoven three stranded discourse. Also we will examine the moral vision of the author, the portrait of the protagonist and we will mention traces which other texts have left in the novel. Chapter 4 is made up of the study of the two «pícaras» created by Castillo Solórzano: Teresa de Manzanares y La Garduña de Sevilla. We will deal with aspects such as the miscellaneous structure which incorporates diverse narrative units, the treatment of scorn and other main themes, the underlying ideology of the novels and the character of Teresa y Rufina. We will close the study with «Conclusions» and «Bibliography».

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English & Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

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O presente estudo busca empreender uma observação comparativa de duas formas distintas de expressão, o romance picaresco espanhol e os contos populares franceses, em uma mesma época, os séculos XVI e XVII, identificando o comum a ambos, tanto na origem quanto no produto final de suas criações, e referindo-os aos pressupostos socioculturais de seu momento. Sem pretender uma redução do conto camponês ao modelo da narrativa picaresca ou caracteriza-lo como tal, ao longo do estudo são respeitados os elementos diferenciadores entre um e outro, uma vez que ali se colocam duas formas narrativas peculiares, cada uma delas aqui observada enquanto representação e intermediação das relações de poder. É colocado em destaque o personagem central da novela picaresca naquela Espanha; observa-se sua trajetória, seu ambiente, seus motivos e sua ética singular, para depois reencontrá-lo na França, emergindo nas formações de outra cultura, embora submetido a semelhantes pressões sócio-políticas. O pícaro torna-se mais compreensível em suas metas e em seus expedientes quando observamos a Espanha desde a plenitude da casa dos Áustrias até sua falência que levou à ruína boa parte da nobreza e impediu de maneira drástica os caminhos de ascensão social, consolidando uma cruel estratificação em sua sociedade. Examinando a história francesa em uma época bastante próxima àquela, encontramos a mesma condição de glória e queda do poder do estado, e de seus nobres gerando igual bloqueio das possibilidades ascensionais, impondo, como naquela Espanha, uma profunda diferenciação entre as diversas classes sociais. As narrativas escolhidas foram Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l’Ogre e Le chat botté, onde a atitude picaresca se mostra em sua plenitude.
The present study aims to conduct a comparative observation of two distinct forms of expression, the Spanish picaresque novel and the French folk tales, in the same time, the 16th and 17th centuries, identifying the common to both, both in origin and in the final product of their creations, and referring them to the contemporary socio-cultural presuppositions. Without claim a reduction of the peasant tale to picaresque narrative model, or characterized it as such, throughout the study are respected differentiating elements between them, since there arise two peculiar narrative forms, each of them seen as a representation and intermediation of power relations. It highlighted the central character of the picaresque novel in Spain; it is observed his trajectory, his environment, their motivations and his singular ethics, and then meet him again in France, emerging in another culture, although undergoing similar socio-political pressures. The picaro becomes more understandable in their goals and their wits if we look at Spain from the fullness of the House of Austrias period, until its bankruptcy that led to ruin much of the nobility and dramatically blocked the paths of social mobility, consolidating a cruel stratification their society. By examining French history in a time fairly close to that, we found the same condition of glory and decline of State power and their nobles, which generated equal blocking in ascension possibilities, imposing such as in that Spain, a profound differentiation between the various social classes. The chosen narratives were Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l'Ogre and Le Chat botté, where the picaresque attitude is shown in its fullness.

Neste trabalho pretendemos realizar uma leitura do Lazarillo de Tormes que além de considerar o discurso do narrador, Lázaro de Tormes, considere também a voz do autor implícito dentro da obra e a forma como essa voz influencia a construção do sentido dela. Reconhecendo a voz desse autor implícito no prólogo da obra e em meio ao discurso do narrador, é possível identificar a sua perspectiva, que nem sempre coincide com a do narrador. O encontro dessas diferentes perspectivas forma contradições no discurso de Lázaro como narrador, e é na conjunção dessas perspectivas que consideramos formar-se o sentido da obra.
The aim of this work is to accomplish a reading of Lazarillo de Tormes considering the discourse of the narrator and also the voice of the author within the story and how it influences the construction of its sense. By recognizing the voice of this implicit author in the prologue of the story among the narrators discourse it is possible to identify the perspective of the author which is not always the same of the narrator. The encounter of these two perspectives forms some contradictions in Lázaros discourse as the narrator and it is through this conjunction that we consider to be forming the sense of the novel.

Esta investigación, cuyo propósito es identificar y describir los elementos novelescos que conforman "Marcos de Obregón", consta de cinco capítulos, que detallan los procedimientos utilizados por el autor en la elaboración del texto, cuya materia prima es su propia autobiografía. Espinel construye al protagonista de su novela a su imagen y semejanza. Varios de sus episodios vitales coinciden con los del protagonista, un escudero que en el final de sus días cuenta su historia vital. Otra fuente de inspiración la constituyen sus lecturas literarias, filosóficas y religiosas, ricas en ideas acopladas a los episodios del relato. Pero también estas les serán útiles para dotar al texto de moralidad y doctrina religiosa contrarreformista. Así, el texto cumpliría con los principios horacianos del "docere" y "delectare". El primer capítulo consta de una reseña biográfica de Espinel, relevante por los episodios comunes que comparten autor y personaje. También se aluden a ciertos acontecimientos históricos que contextualizan la obra en el tiempo y espacio para otorgarle verosimilitud a la fábula, según la preceptiva neoaristotélica que el autor sigue. El segundo capítulo se concentra en la estructura de la obra. El enorme influjo que la picaresca tuvo sobre ella se evidencia tanto en la arquitectura textual como en la estructura narrativa. Espinel sigue el modelo del "Guzmán de Alfarache" para organizar su historia, distribuida en tres grandes segmentos llamados relaciones. Estas se dividen en capítulos denominados descansos, donde se introduce, cuenta y luego moraliza un determinado acontecimiento. La narración retrospectiva y autodiegética será otro aporte del género. Espinel sigue también al "Buscón" de Quevedo y a los relatos de Cervantes, por quien siente profunda admiración, pero también se apoya en los escritos misceláneos de Mexía o Torquemada, como lo demuestra el análisis textual. El tercer capítulo describe la influencia del género bizantino. Estos relatos fueron alabados por la preceptiva porque los protagonistas de las historias clásicas, Las etiópicas de Heliodoro o Leucipa de Tacio, representaban modelos virtuosos. El resurgimiento del género en el Siglo de Oro había comenzado con el Clareo de Núñez de Reinoso y la Selva de Contreras, y continuó con el Peregrino de Lope y el Persiles de Cervantes, a quienes Espinel siguió atentamente. Los rasgos bizantinos se hacen más notorios en el relato americano de la tercera relación, aunque son también perceptibles en el resto del texto. Fundamental resulta para ello la adaptación de la técnica narrativa del género "in media res". El cuarto capítulo detalla el debate de la crítica acerca de la pertenencia de la novela a la picaresca. En lo sustancial, se coincide en que el protagonista no es un pícaro, pero la presencia del género es visible en la estructura y el cuadro social de la obra. Marcos de Obregón dialoga con diversos textos clásicos o de la época. Esto evidencia el procedimiento hipertextual en la creación de la novela, aunque la picaresca sea el género más destacable. El escudero solo en ocasiones actúa como pícaro para burlar a quienes sí lo son o para escapar de situaciones problemáticas. El último capítulo centra el análisis en las figuras del escudero y el soldado. El autor decidió hacer reconocible su figura a través de un personaje, perteneciente al mismo estrato social, con un oficio común al suyo. Ambos sirvieron a nobles o distinguidos caballeros. Finalmente, Espinel estuvo atento a las narraciones de soldados como la autobiografía de Alonso Enríquez o Jerónimo Pasamonte, quienes prestaron sus servicios militares a la Corona, y adoptó de ellas la figura del soldado y el relato retrospectivo de sus aventuras.
This research tries to identify and to describe the main the novelistic components of the novel. This text is basically composed of writer’s real life events. The hero is made of characteristics similar to Vicente Espinel. This thesis has five chapters. The first of them is a short review about the families and personals background of Espinel’s, and several historic events which had happened during the writer’s life in the Gold Century. The second chapter addresses about the narrative and textual structure of the novel. The main influence in the text is the picaresque genre through the Guzmán de Alfarache novel. But other kind of texts were also alluded in Marcos de Obregón, for example the miscellaneous tales of Mexía or Torquemada, that helped to the Ronda’s writer achieves the docere and delectare, the two rules of the Latin poet Horace. The third one is about the relation between the byzantine genre and Espinel’s novel. The principal actors of Greek classics like Las etiópicas by Heliodoro and Leucipa by Tacio were high moral referents. Espinel had read other works like Clareo by Núñez de Reinoso, Selva by Contreras, Peregrino by Lope and Persiles by Cervantes, the latter being strongly admired by Espinel. Besides, the writer adopted the narrative technical of this genre: in media res. The forth chapter talks about the critical works which discuss the relationship between the text and the picaresque genre, as Marcos de Obregón is not a so called ‘pícaro’, but the novel has the picaresque structure. But the text is not based exclusively one genre. The novel is created together other genres, although the picaresque is the most prominent component. Finally, the last chapter analyzes the squire and the soldier figures. Espinel chooses a character, who had done the same job as him. The writer served as a squire for aristocratic and powerful people. And the author could read the autobiographical soldiers tales of Alonso Enríquez or Jerónimo de Pasamonte. He was able to adopt the soldier figure and the retrospective and autobiographical narrative diagram.

Esta dissertação apresenta uma tradução comentada de parte do livro The Unfortunate Traveller: or, The Life of Jack Wilton, escrito por Thomas Nashe em 1594 e discute os desafios de traduzir pela primeira vez para o português esse romance picaresco escrito durante o período elisabetano. As alterações estruturais, lexicais e semânticas ocorridas na língua inglesa durante esses anos e as diferenças culturais entre a Inglaterra do século XVI e o Brasil da atualidade são algumas das dificuldades enfrentadas no processo tradutório dessa obra. O primeiro capítulo apresentará uma leitura crítica da obra, do autor e uma contextualização do romance picaresco. No segundo capítulo haverá uma explanação das duas teorias de tradução usadas nesta dissertação: as tendências deformadoras propostas por Antoine Berman (1985), que propõem identificar as variações encontradas nas traduções em relação ao texto original; e o modelo descritivo das Modalidades de Tradução elaboradas pelo Prof. Dr. Francis H. Aubert (1998, 2006), derivado do modelo pedagógico dos procedimentos técnicos da tradução (Vinay & Darbelnet, 1958, 1977). No terceiro capítulo usaremos essas duas teorias como ferramentas para análise das escolhas tradutórias adotadas e suas implicações na escrita do texto na língua de chegada. O quarto capítulo trará a tradução de 50% do livro ao lado do texto original em inglês com notas e comentários no rodapé.
This work presents an annotated translation of a part of the book The Unfortunate Traveller: or, The Life of Jack Wilton, written by Thomas Nashe in 1594 and discusses the challenges of translating for the first time into Portuguese this picaresque novel written during the Elizabethan period. Structural, lexical and semantic changes in the English language over the years and the cultural differences between the sixteenth-century England and contemporary Brazil are some of the difficulties in the translation process of this work. The first chapter will present a critical reading of the work and the author. In the second chapter there will be an explanation of the two translation theories used in this dissertation: the comparative method of deforming tendencies proposed by Antoine Berman (1985), which proposes to identify the variations found in translations from the original text. And the second, the The translation modalities descriptive model developed by Francis H. Aubert (1998, 2006), derived from the pedagogical model of the technical procedures of translation (Vinay & Darbelnet, 1958, 1977). In the third chapter these two theories will be used as tools to analyze the translation choices and its implications in writing the text in the target language. The fourth chapter will bring the translation of 50% of the book side by side with the original text in English with notes and comments in footnotes.

CARDOSO, Maria Inês Pinheiro. Cavalaria e picaresca no romance D' A Pedra do Reino de Ariano Suassuna. 2010. 547f. Tese (Doutorado) - Universidade de São Paulo, Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas, São Paulo, 2010.
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The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.
O propósito deste trabalho é mostrar que na concepção do Romance d'A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência d'A Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.

O propósito deste trabalho é mostrar que na concepção do Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência dA Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor.
The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.

The focus of this study is to investigate what images of Sweden are transmitted in the novel The road to Ithaca (1994), by the Uruguayan author Carlos Liscano. The study focuses on the first half part of the novel for this taking place in Stockholm, Sweden, in the early nineties. The aim is to investigate by what literary strategies and literary subgenres the images of Sweden are transmitted.    The theoretical framework applied derives from studies of the literary genre of the picaresque novel and its bufonesco mood, such as the literary strategies irony and laconism. For the analysis Mieke Bal´s concept of focalization and semantic axes are used.      The study shows that in Sweden there are parallel worlds to the official world of the welfare state; in the shadow side of society there are the metecos, unwanted residents: the undocumented and the mentally ill. Through a picaresque and ironic style, the author shows that Sweden is a neat, clean, but culturally hermetic society; almost perfect on the surface, but with a lot of hidden “trash” beneath.    The welfare state of Sweden seams benevolent in its integrative intention, but is, at the same time, blind, or even worse, disinterested in the new reality of the country; that of the welfare state in dissolution and Sweden as a Tower of Babel.

Esta tese tem a preocupação de examinar as diferenças e similaridades entre as Novelas amorosas y ejemplares (1637) e sua segunda parte, Desengaños amorosos (1647). Também busca elucidar a conexão entre os inflamados discursos que denunciam os constructos culturais que sustentam a superioridade do homem e a inferioridade da mulher e o trágico fim das personagens femininas de Desengaños amorosos. Ainda, analisar como se organiza e apresenta a defesa da mulher, traço marcante das coletâneas, que foi discutida pela crítica do século XX a partir das diretrizes do feminismo. Apoiando-se nos tratados de arte poética vigentes no século XVII, nos tratados de conduta, nas doutrinas filosóficas, políticas e religiosas que norteavam as práticas sociais e as artes do período, esta pesquisa mostra os aspectos que distinguem e, concomitantemente, unem as duas coletâneas. Com este suporte, distingue a função dos discursos de moldura e dos contos, assinalando sua coerência. Além disso, demonstra que a defesa da mulher se expressa por meio do elogio à virtude e o vitupério dos vícios, de acordo com os padrões éticos e religiosos da Contra Reforma, mas também em consonância com as reivindicações das mulheres da Espanha seiscentista. Mediante a análise da moldura e de dois contos de cada coletânea, a tese faz notar a complexa organização estrutural da obra ao indicar como o significado de cada conto se enriquece quando perfilado aos demais de sua coletânea e, sucessivamente, quando se somam Novelas e Desengaños. Tal disposição revela que a obra de Zayas segue um projeto de unidade. Seu cuidadoso planejamento e diligente execução tornam patente que a escritora compete com a invenção de seus contemporâneos, com vistas a granjear a autorização da escrita feminina e o consecutivo ingresso da mulher no círculo dos autores profissionais. Confirmando as freqüentes denúncias de Zayas sobre a depreciação da mulher nas belas letras da primeira metade do século XVII, a tese propõe que a contista faz de sua obra uma réplica ao difundido modelo das pícaras, celestinas e cortesãs. Conseqüentemente, ao representar mulheres que são exemplo de virtude e homens que são motivo de desengano, por causa de seus vícios, a engenhosa autora inverte os paradigmas e incita o leitor a rejeitar a generalizada difamação da mulher, apresentando-lhe persuasivas razões para respeitá-la e dignificá-la.
This paper focuses on the examination of the differences and similarities existing in Novelas amorosas y ejemplares (1637) and its second part, Desengaños amorosos (1647). It also tries to illuminate the connection between the heated arguments that denounce the cultural conventions supporting mans superiority, womans inferiority, and the tragic end of the female characters in Desengaños amorosos. Moreover, it analyzes how the defense of the woman is organized and presented, such defense is a remarkable trait of the collections of writings that had been discussed by the 20th. Century critics, bearing in mind the feminist conductress. Supported on the treatises about ars poetica present in the 17th. Century, on the treatises about behavior, on the philosophical, political and religious doctrines that guided the social practices and the arts of such period, this research shows the aspects that distinguish and, at the same time, join both collections. With this support, it highlights the function of the frame speeches and tales, emphasizing its coherence. Besides, it shows that the defense of the woman is expressed by means of praise to virtue and invective against vices, according to the ethical and religious patterns of the Counter-Reformation, but also relating to the 17th. Century Spanish womens demands. By means of the analysis of the frame and of two short novels of each collection, this paper brings to mind the complex structural organization of the work, while showing how the meaning of each short tale is enriched when it is placed alongside the other stories of its collection and successively, when Novelas and Desengaños are added to. Such organization reveals that the works by Zayas follow a project of unit. Her careful planning and attentive execution makes it clear that the writer competes against the invention of her contemporaries, aiming to receive the authorization of the womens writing and the consequent admission of the woman in the circle of professional authors. Confirming Zayas frequent accusation against womens detraction in the belles-lettres of the 17th. Century first half, the thesis proposes that the short-story writer makes up her own work as a response to the widespread model of female picaroons, celestinas (panderesses) and courtesans. As a consequence, when representing women who are examples of virtue and men who are a reason for disillusion because of their faults, the ingenious writer inverts the paradigms and encourages the reader to reject the generalized slander against women, presenting persuasive reasons for respecting and dignifying them.

O presente trabalho tem como objetivo contextualizar a novela exemplar \"Rinconete y Cortadillo\" no conjunto da obra de Miguel de Cervantes, bem como analisá-la estabelecendo o diálogo com alguns gêneros literários de sua época, como a picaresca e o teatro. Será examinada a trajetória do texto desde sua menção no Dom Quixote de 1605 até a sua publicação entre as Novelas Exemplares em 1613. Serão estudados os diversos discursos presentes na composição da obra, considerada a grande aproximação de Cervantes à literatura picaresca. Ao incorporar elementos do gênero dramático à narrativa, o autor realiza, com comicidade, uma interessante aproximação aos temas cotidianos, assim como a comédia o fazia. Será possível observar como \"Rinconete y Cortadillo\" expõe, de maneira cômica e satírica, algumas máculas e vícios da sociedade sevilhana dos séculos XVI e XVII.
The objective of this work is to contextualize Rinconete y Cortadillo exemplary novel within the works of Miguel de Cervantes and analyze it by establishing a dialogue with some of the literary genres of its time, namely the picaresque novel and drama. This current dissertation examines how the text evolves since it was first mentioned in Don Quixote (1605) until its publication among the Exemplary Novels in 1613. I will analyze the several forms of speech pervading the novel in light of Cervantes propinquity to the picaresque literature .By incorporating into the narrative drama-related elements, the author brings his work to deal more closely with everyday topics, as comedy has been used to. Thereby one can notice how Rinconete y Cortadillo displays, both comically and satirically, certain vices and blemishes present in the 16th- and 17thcentury Sevillan society.

The goal of this graduation's thesis was to focus on picaresque elements in The Exemplary Novels (Novelas ejemplares). The object of research were, therefore, ones of the most important works of the Spanish Golden Age - picaresque novels The Life of Lazarillo de Tormes (La vida de Lazarillo de Tormes) and Guzmán de Alfarache and their influence on Cervantes' literary works. We analyzed the picaresque elements, different variations of theirs' in the selected Exemplary Novels. More specifically, we dealt with the character of picaro, form of the works and a concept of realism in Alemán and Cervantes.

碩士
中國文化大學
德國語文學研究所
87
Abstract The publication of The Timdrum written by Guenter Grass is an important indicator of German literary history after World War II. It not only is a representative work of post-war literature, but also obtains readers’ wide favor. While word-renowned, The Timdrum has been translated in dozens of languages. This thesis aims to explore The Timdrum as a picaresque novel from the approach of theory of laughter culture of Mikhail Bakhtin, a Russian literary theorist. Before clarifying what kind of novel The Timdrum is, it is necessary to understand the novel is a unique literary genre. Therefore, Chapter One sets forth some fundamental concepts from three aspects. The first describes the interpretations of The Timdrum, conveyed in general criticisms. The second points out the aporia of current literary theories concerning the studies of the novel. Bakhtin’s theories of the novel provide a loophole to extricate one from this kind of aporia. The third makes a general description of Bakhtin’s theories of the novel. Chapter Two offers a deep exploration of Bakhtin’s theories of the picaresque novel. Herein, we find that Bakhtin adopts a point of view that subverts traditional literary theories to carry out a new study on the novel. However, Bakhtin does not give the concrete explanation and statement of the picaresque novel. In this thesis, the concept related to the picaresque novel is the result of a painstaking study on Bakhtin’s theory of laughter culture. Based on the framework of theory outlined in the previous chapter, Chapter Three offers an analysis of The Timdrum. From the prospective of The Timdrum as a picaresque novel, this chapter furnishes examples to testify this provision. Besides, it also points out the correlation between The Timdrum as a picaresque novel and the laughter culture. Finally, the conclusion of this writing is that The Timdrum, a great literary work, is the heritage of the carnival treated in European literature. This kind of tradition is doubtless the origin of the picaresque novel. This study has two important respects to convey. One respect introduce Bakhtin’s study on laughter culture in folklore. The reason is that, for Bakhtin, this kind of culture is the origin of many types of novel. The second respect uses laughter culture as a framework to point out that The Timdrum, a picaresque novel, not only follows the literary tradition of laughter culture in folklore, but also complies with the characteristics of modern laughter culture (such as satire, humor and cynicism).

This thesis investigates and examines the manifestations of ideology in paratexts, specifically concentrating on forewords and afterwords in Czech translations of novels written during the Spanish Golden Age and translated into Czech between 1948 and 1989. To uncover and classify each display of ideology, a new methodology was proposed. Its creation was based on research documented in the theoretical part of this thesis which discusses translatological concepts, studies ideology and censorship and characterizes the literature of Spanish Golden Age. The translatological concepts covered in this thesis are: the communicative model and praxeology of Anton Popovič, André Lefevere's concept of rewriting, and the paratext theory of Gérard Genett. The functionality of the proposed methodology was tested in the thesis's empirical part, in which nine paratexts were analyzed. On the basis of this paratext analysis, the trends of each ideology manifestations were established as well as factors that contribute to their presence.

The emergence of the picaresque in some contemporary women's novels from postcolonial countries has focused the attention on the nature and function of the picaresque and the manipulation of modes as a subversive strategy. As a cultural construct, the novel represents and interacts with the mores and concerns of a society but it is argued that women's issues have been absent from mainstream literature. This occurrence is attributed to the difference between male and female experience which evolved into a personal and domestic sphere for women and a public domain for men. Difference was perceived as a binary opposition and reinforced through culture with the result that women became marginalized - similar to the colonization of minorities. The first chapter attempts to contextualize the situation of women and indicate the problems they have to face. It is argued that a certain common ground exists between women from different cultures and ethnic groups and it is further postulated that by uniting their forces they might effectively oppose a male-dominated society. Furthermore, the postmodernist concept of the dissolution of boundaries is discussed with regard to the close relationship between fiction and history. As the aggressive feminist stance in society and literature has mostly been rejected by contemporary feminists and many now support a conciliatory agenda, their strategies in combatting domination and inequality have also changed. They have realized (and begun to exploit) the subversive potential of literature and language. In particular, they have become aware of the effectiveness of structural and formal codes in the reinforcement of meaning. Their writing displays a subjective preoccupation as they evince a predilection for autobiographical writing like the testimonial and the picaresque. The picaresque has a political connotation because of its inherent social critique but it is also situated within the autobiographical paradigm and is therefore an appropriate mode for feminist subversive strategy. This mode is discussed in the second chapter and its most prominent aspects, which also occur in the selected texts, are defined: its testimonial character, its element of social critique and the self-conscious or metafictional aspect of the mode are identified. The four novels which have been selected are Eva Luna by Isabel Allende, A sport of nature by Nadine Gordimer, Die swerjjare van Poppie Nongena by Elsa Joubert and Hasta no verte JesUs mfo by Elena Poniatowska. It is very fortunate that although the four novels all manifest picaresque traits, each also emphasizes a particular aspect more than the others. This difference also indicates an interesting progression in the evolution of women's novels from the personal testimonial to the picaresque as a moral corrective with political implications, to a metafictional/self-consciousness. All the novelists manipulate traditional conventions, whether social or literary. In Chapter 3, I discuss mainly Poniatowska with Joubert in counterpoint because Die swerjjare van Poppie Nongena cannot be classified as picaresque according to the criteria used. Poniatowska creates a testimonial of an authentic washerwoman named Jesusa Palancares in the text. She recounts her life to Poniatowska who acts as facilitator and reconstructs the life of a courageous and independent spirit. The chapter on Gordimer, Chapter 4, features Hillela Capran as a protagonist who seems to epitomize the image of the contemporary pfcara. She inverts the role of the pfcaro and thereby illustrates the double marginalization of women. The fifth chapter depicts Eva Luna, whose independence prompts her not only to reconstruct her past but also to construct her future. She illustrates that history has a double face and women need to assert their right to rein scribe themselves in history. The main theme which emerges from these novels is that of female assertion in various ways and by different means. What has emerged most persuasively from this study is that women writers have resorted to an effective, quietly devastating subversion of the traditional stereotypical roles ascribed to women by asserting their independence and rewriting literature and, by implication, history - and thus finally and irrevocably (re-)inscribing themselves into history.
Proefskrif (PhD (Engels))--PU vir CHO, 1995.